I’ll be curious to hear this wunderoboist. Sounds like she’s something else. And get this:

When Koch was offered the ASO job, she was told she’d need a new instrument to better conform with that Cleveland aesthetic, and to better cut through the acoustical mush of the Woodruff Arts Center’s Symphony Hall.

So she put away her bright Yamaha oboe and borrowed one of Woodhams’ Lourée instruments ? the same brand of oboe that her predecessor Dlouhy played. A top of the line model costs almost $7,000 and, at this level of playing, wears out in three to five years.

(Too bad about the spelling of Loree, too. ;-)

I’m sure she’ll find a fine horn, but the thought of having to do an instrument search … ugh.

Jealous? Nope, I’m not. I like what I do. I like where I play. I love my jobs. I’m just amazed, is all!

As I type this I’m sitting in a hotel lobby (taking advantage of the free wireless … what can I say?) and a movement of Ravel’s Tombeau is on. But it is different. There is guitar. There is English horn where there didn’t used to be. Anyone know what the heck this is? Maybe just “hotel music”, since much of what I’ve heard is sort of mindless stuff … but this is a lovely little arrangement. I alwasy like more English horn! :-)

Earlier today, on my drive down to Irvine, I listened to “Blues for DD”. Okay, I admit it, I’m a total sucker for this CD. I love it. It makes me cry. It’s really beautiful. Diana Doherty is such an amazing player, too … and I’m glad she’s not afraid of doing “Autumn Leaves” or something from West Side Story (“Maria”) or Gabriel’s Oboe. Beautiful music is beautiful music. She makes beautiful music.

I listened, as well, to the Concerto for Oboe and Orchestra by Ross Edwards that was written for her.

Okay … so there’s this 21 year old that wins an audition and there’s this incredible oboist, Diana Doherty, and I’m not them … and I’m still not jealous (honest) … but I sure am in awe, and quite humbled.
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Dan is working to get this site moved. It’s gonna be happening … soon. This means that maybe you won’t see me for a time. We’ll see. But things are going to look different, and shouldn’t be crashing as often (if at all?). Nice!
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I hate the notion that electronics are a cheesy way of doing things and that orchestra is the only ‘true’ approach to scoring. But you can understand those critics, because electronics allow you to make easy choices. Anyone can do it. But while synthesizers are things you hide behind sounds, they can also be put in places you’d never expect. I’ve always wanted these boundaries to be amorphous.